1301PE is pleased to announce its second exhibition with Düsseldorf-based artist Jan Albers. Following Albers’ critically acclaimed solo exhibitions at the Kunsthalle Wilhelmshaven and the Von Der Heydt-Museum Wuppertal in Germany, this exhibition presents new wedge pieces, ‘chainsaw massacres,’ as well as his hydraulically pressed automobile pieces.

“Heard of a van that is loaded with weapons, Packed up and ready to go
Heard of some grave sites, out by the highway, A place where nobody knows

The sound of gunfire, off in the distance, I'm getting used to it now
Lived in a brownstone, lived in a ghetto, I've lived all over this town

This ain't no party, this ain't no disco, This ain't no fooling around
No time for dancing, or lovey dovey, I ain't got time for that now”

A group show of five American artists who bear witness to the political, gender, racial, and economic conflict that pervades their lives and art practice. Life During Wartime includes painting, drawing, sculpture, video, and photography.

“Transmit the message, to the receiver, Hope for an answer some day
I got three passports, a couple of visas, You don't even know my real name

High on a hillside, the trucks are loading, Everything's ready to roll
I sleep in the daytime, I work in the nighttime,
I might not ever get home”

Sadie Barnette’s work deals in the currency of subculture coding, magical realism, The Everyday and transcendence. Whether working in photography, drawing, collage, or large-scale installations, she turns her attention toward unexpected locations of identity construction, family histories, celebration and resistance. She creates visual compositions that engage a hybrid aesthetic of minimalism and density, using text, glitter and found objects to demonstrate the necessity for poetry and abstraction in urban life and the power of the personal as political. Barnette will create a site-specific installation in the gallery that includes collage, photography, and sculpture.

“This ain't no party, this ain't no disco, This ain't no fooling around
This ain't no Mudd Club, or C. B. G. B., I ain't got time for that now

Heard about Houston? Heard about Detroit?
Heard about Pittsburgh, P. A.?
You oughta know not to stand by the window Somebody see you up there”

Aaron Fowler creates mixed-media assemblage-paintings that depict his experiences and the lives of his family and friends in both a personal narrative and an epic journey through contemporary America. This exhibition includes “Trust + Respect = Love (Eric),” 2016, a new work from his ongoing series of “Money Bags”.

“I got some groceries, some peanut butter, To last a couple of days
But I ain't got no speakers, ain't got no headphones, Ain't got no records to play

Why stay in college? Why go to night school?
Gonna be different this time
Can't write a letter, can't send no postcard, I ain't got time for that now”

Tschabalala Self is concerned with the iconographic significance of the Black female body in contemporary culture. These portraits and tableaus explore the emotional, physical and psychological impact of the Black female body as icon. In this exhibition, “Pussyfoot” is a painting composed of various materials and assemblage. The work's subjects, a woman and her cat, are built from fabric and linen. The female protagonist is articulated with color pencil, acrylic paint and stuffing. Both characters equally participate in the dynamics of the painting; however, the primary subject is the woman, who embodies the attributes of both subjects. She appears delicate and mischievous, however there is uncanniness to her being.

“Trouble in transit, got through the roadblock, We blended in with the crowd
We got computers, we're tapping phone lines, I know that that ain't allowed”

Farrah Karapetian is an artist who makes photography physical. Her methods incorporate sculptural and performative means of achieving imagery that refigures the medium of photography around bodily experience. Karapetian presents three works from different periods of her production, each of which was motivated by narratives around migration and the will to cross borders. “Stowaway”, 2009, is a large-scale silver gelatin photogram in which she devised a way to depict the images produced at the US Mexican border when cargo trucks are X-Rayed for illegal freight. The “Souvenirs”, 2009, are five chromogenic photograms rendered from a fragment of the Berlin Wall. “Moving Relief, Pacific,” 2016, is a single-channel video of one of the artist’s signature “sculptural negatives” – a life vest cast in orange ice – melting into the ocean until only its black straps twist and curl into the current.

“We dress like students, we dress like housewives, Or in a suit and a tie
I changed my hairstyle, so many times now, I don't know what I look like!

You make me shiver, I feel so tender, We make a pretty good team
Don't get exhausted, I'll do some driving, You ought to get you some sleep”

Shiri Mordechay, who was born in Israel and raised in Nigeria, works primarily with ink, acrylic, and paper. She creates lush figurative and active landscapes that live in the margin between painting and sculpture. Her work invites the viewer to experience a state of mind dominated by emotions rooted in fear and flight. Her monumental new installation - “Tempest in a Tea Cup (storm)” - enfolds the novelistic elements of “Alice In Wonderland” with Gericault’s “The Raft Of The Medusa”. The viewer is seduced into experiencing a world of roaming predators driven by their survival instincts. In opposition, there is an element of seduction in the work, which is both vivid and magnetic. The work is an invitation to experience a broad spectrum of contradictory instincts.

“Burned all my notebooks, what good are notebooks?
They won't help me survive
My chest is aching, burns like a furnace,
The burning keeps me alive

This ain't no party, this ain't no disco, This ain't no fooling around
This ain't no Mudd Club, or C. B. G. B., I ain't got time for that now”

“Concrete Islands” offers a poetic investigation into the intersection of words and objects. Inspired by Marcel Broodthaers’ 1964 sculpture Pense-Bête in which the artist took the unsold copies of one of his books of poetry and encased them in plaster creating an object that literally solidified poetry into a concrete form, Concrete Islands posits the question: where does language end and the world begin? The exhibition looks at a number of artists whose work follows in the wake of Broodthaers’ epiphany. Working in a wide range of media from sculpture and film to embroidery and typewritten drawing, this inter-generational group of artists, each in their own way, cross the boundaries between the immaterial and the material, between language and things, and between concrete poetry and concrete objects.

The exhibition will be accompanied by a book designed and co-published by ROMA Publications in Amsterdam includes an essay by Douglas Fogle and Hanneke Skerath along with additional images of works by Bas Jan Ader, Joseph Beuys, Marcel Broodthaers, Dom Sylvester Houédard and Ruth Wolf-Rehfeldt.

RSVP Essential to rsvp@kpprojets.net for the opening reception // Guest list at the door

Joe Sorren – from Inside

KP Projects Gallery is proud to present from Inside, the latest solo exhibition from Joe Sorren.

Drawing on the layered physicality of brushstroke and vibrant color pioneered by Post-Impressionists, Sorren captures the romantic energy of swirling brush strokes with contemporary nuances to convey his feelings and state of mind in narrative form. Using layers of paint sometimes 5 layers deep, the internal energy of the artist and characters emerge from the paint itself; a nod to the exhibition’s title.

Process is intensely important in Sorren’s work. Working directly onto canvas without sketches, each painting radiates an adventurous spirit that often parallels the inquisitive journeys of the characters within. In “There You Go”, a small boy releases his pet fish into the swirling whirlpool of the wild while “from Inside” features a crimson haired girl exploring the river, rocks and floral blooms of an emerald hued cave. By allowing the paint and color to dictate the fluid nature of artistic process, and nature itself, Sorren’s style is at once immediate, vulnerable and sentimental.

“When approaching this body of work, I was interested in playing with the dichotomy between application of paint as well the imagery that evolves from that application. Because brushstrokes are tiny recordings of energy and intent with that energy, I became fascinated with the push-pull that this can establish. Once you begin to work with this dynamic, you find that the work can display another level of communication, that, in all but the most aggressive passages, remains a subconscious informant.” – Joe Sorren
Below the surface, an impassioned tenderness permeates the ethereal subject matter. Empathy and innocence emanate from the faces and gestures of Sorren’s characters, lending a distinct sincerity to his work.

- - -

Joe Sorren’s surreal oil paintings and illustrations depict stylized, cartoonish characters in dreamlike settings that evoke the Pop Surrealism of 1970s Los Angeles. Working in a muted, but luminous, palette, Sorren paints with impressionistic brushstrokes that create soft textures. Recently, Sorren has drawn inspiration for his foreboding paintings based on the experience of living through Hurricane Sandy in New York City in 2012. Sorren currently lives and works in Madrid.



Dorian Vallejo - Forward With No Sound At All

KP Projects is proud to present Forward With No Sound At All, the latest exhibition from Dorian Vallejo.

In his newest body of work, Vallejo explores the intimate spaces of conscious and unconscious existence using the female figure as a symbolic metaphor for beauty. Dreaming women are overlain with geometric shapes or delicate flora. Vallejo’s work is tinged with a Baudelarian romanticism of contemporary life and a constant curiosity with the world around him.

Several of Vallejo’s works also engage the dichotomy of serenity and chaos. A solitary figure stands among piles of books, clothes and shoes, seemingly unaware of the disheveled room around them.

Other works explore a sense of personal introspection. Floating in a womblike bubble and surrounded by an oceanic current, figures explore the psychological space between our dreaming and waking realities.

The undercurrent of this exhibition is a fascination with the randomness of life and our individual experiences. Vallejo strengthens this poetic reflection on the nature of existence with his undeniable painterly technique and ability to capture the quiet spaces inbetween.

“I explore several areas of interest with my paintings and drawings. The common thread uniting it all is an appreciation for the poetry and wonder of life. With some work I'm visually exploring the fractured nature of thought as we move through moments of time. In other work, my interest lies within the internal labyrinth of our own making and our ability to navigate that journey. Other pieces show my intrigue with the abundant nature of our modern lives. Another theme focuses on the duality of our existence, our dream states; the conscious and unconscious realms of existence.” – Dorian Vallejo

- - -

Born into an artistic family, (with artist father Boris Vellejo), Dorian Vallejo’s career began in his late teens when he began illustrating book covers while attending the School of Visual Arts in New York. As the field increasingly began to incorporate the use of computer-generated images, Vallejo felt the need to pursue other avenues with his art. His love of traditional media and the figure, drew him to portraiture and to focus on personal work, which shows in galleries.

Matthew Marks is pleased to announce an exhibition by Paul Sietsema in his galleries at 1062 North
Orange Grove and 7818 Santa Monica Boulevard. The artist’s first one-person exhibition in Los Angeles
since 2002, it includes two recent films and a group of new paintings and drawings. Sietsema conceived the exhibition around the color green as an aesthetic and speculative framework.

The paintings and drawings are executed in ink and enamel on linen or paper. With one painting, a green
abstraction, the artist links color and material to invoke abstraction’s gradual evolution from the spiritualand the political to the economic. Two large paintings indicate years of personal significance to the artist, depicting them carved into stone slabs covered in green moss as a way of addressing patina’s relationship tohistorical value. In another painting, torn fragments of a green hundred-euro banknote are rendered in enamel over a found still-life painting. All of these works reflect aspects of how a painting can function — as an object of contemplation, for example, or an object of commerce.

In two ink drawings, Sietsema has manually duplicated the process of mechanical reproduction, copying pages of The New York Times by hand-rendering each typographic mark. Another drawing portrays an artist’s palette smeared with oil paint. Its unintentional paintbrush dabs have been replaced by expressionistic ink marks — a substitution of one medium and its inherent mark-making sensibility with another.

The two films in the exhibition explore the mechanisms of circulation and the experience of apprehending an image through text — both examples of a medium distancing an object from the viewer. For Abstract composition, a black and white film projected here in 35mm, Sietsema has taken phrases from online auction sites (“English hunting scene,” “painted waterfall,” “carved marble urn”) and, using digital animation, punched the words into a cardboard sign that appears to rotate slowly, like a coin flipping between heads and tails.

The 16mm color film At the hour of tea, which presents five sequences structured around found objects — silver coins, Roman glassware, a green leatherette box, an envelope, and a typewriter — gradually reveals a text describing a historical painting in modernist terms. The sequences of these objects arranged in tableaus,together with the text, offer historical analogues for modern processes of consumption, production, and communication: collecting, arranging, and recording.Paul Sietsema (born 1968) lives and works in Los Angeles. His work has been the subject of one-person exhibitions at the Kunsthalle Basel, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art in New York. In the past two years he has had one-person exhibitions at the Wexner Center for the Arts in Columbus, the Museum of Contemporary Art in Chicago, the Denver Museum of Contemporary Art, and the Nouveau Musée National de Monaco. Fifty-Three Works by Paul Sietsema, the first monograph focused solely on his paintings and drawings, will be published by Mousse in the fall and willinclude essays by Tim Griffin, Emiliano Battista, and Eva Fabbris.

Paul Sietsema is on view at 1062 North Orange Grove and 7818 Santa Monica Boulevard from
September 24 to December 23, 2016, Tuesday through Saturday, from 10:00 AM to 6:00 PM.
For additional information, please contact Ted Turner at (212) 243-0200 or ted@matthewmarks.com

Meliksetian | Briggs is pleased to present Mannequin Death a collaboration between Richard Hoeck and John Miller. The artists’ second exhibition at the gallery features the video work of the same name juxtaposed with a group of new photographic works. The exhibition is an inquiry into the relationships between identification, subjectivity, desire, leisure and the sublime, as well as the opposition of the man-made and natural landscape.

In the video, a disembodied mannequin arm pushes various mannequin figures to their destruction down the rocky precipice into a quarry. The mannequins have been carefully outfitted in a variety of contemporary styles, much like department store mannequins emblematic of consumer culture, provoking a sense of identification and empathy in the viewer. Jarring and violent yet strangely hypnotizing, the video references the Kantian sublime landscape and the “sex appeal of the inorganic,” which, the Italian philosopher Mario Perniola argues, marks the transition from an organic, bodily sexuality to an inorganic and artificial one. There is also a clear reference to German Romantic painter Caspar David Friedrich’s lone figures, about which Miller states in relation to the video, “because these figures (often silhouettes) are clearly stand-ins for the view they constitute a kind of empty – or variable – subject position.” Juxtaposed with the video work are a series of photo works made at the empty golf course next to the cliffs where the video was filmed. The manicured, carefully styled man-made environment devoid of human presence is contrasted with the striking and awe inspiring natural landscape, heightening the Kantian void between the sublime and the merely beautiful. Notions of leisure and danger, or indeed death, alongside one another provide a liminal rupture, an antagonistic counterpoint and tension between the works.

The exhibition at Meliksetian | Briggs marks the West Coast debut of the video Mannequin Death (2016). It was recently featured at Metro Pictures, New York, Marc Jancou, Geneva and Johann Widauer, Austria as well as Miller’s solo survey exhibition I Stand, I Fall at the ICA / Institute of Contemporary Art, Miami in early 2016. Hoeck and Miller have collaborated for nearly twenty years and have had two-person exhibitions at the Kunsthalle Wein, Vienna and at KW/Kunstwerke, Berlin along with frequent group exhibitions. A monograph of these collaborative works More Alive Than Those Who Made Them (2015, Whitewalls / The University of Chicago Press) is available.

Richard Hoeck (b. 1965, Hall, Tirol, Austria) currently lives and works in Vienna and Breslau, Poland and studied at Universität für angewandte Kunst, Vienna. Hoeck has exhibited widely in Europe and his work is included in the exhibition Franz West: Artistclub opening on December 14 at the 21er Haus, Vienna. Solo exhibitions include Kunsthalle Krems, Austria and the Galerie fuer Zeitgenoessiche Kunst, Leipzig, Germany. As well, as his collaborations with Miller and his own works, Hoeck has made collaborative works with Heimo Zobernig, Franz West and Mike Kelley. Hoeck was a participant in the artist in residence program at the MAK Center for Art and Architecture in Los Angeles in 2001/2.

Artist, critic and musician, John Miller (b.1954, Cleveland OH) has exhibited extensively since his first solo show at White Columns, New York in 1982. Major solo exhibitions include the 2016 solo mid career survey exhibition at the ICA / Institute of Contemporary Art, Miami curated by Alex Gartenfeld (catalog forthcoming), Musée d’art modern et contemporain (MAMCO), Geneva, Switzerland, a 2011 exhibition at the Museum Ludwig, Cologne in conjunction with his being awarded the Wolfgang Hahn Prize (cat.) and A Refusal to Accept Limits, a mid-career retrospective at the Kunsthalle Zurich curated by Beatrix Ruf in 2010 (cat.) Miller has participated many group shows and in numerous international biennials including the Whitney Biennial (1985, 1991), the Biennale de Lyon (2005) and the Gwangju Biennial (2010). In December, Miller’s work is featured in an exhibition at The Studio for Propositional Cinema, Düsseldorf, which runs concurrently with the exhibition at the gallery. Miller lives and works in New York and Berlin and his extensive exhibition and artwork archive can be found online at www.lownoon.com.

Jack Hoyer was born in Philadelphia in 1946; he lives and works in Los Angeles. He
received a BFA from Tyler School of Art at Temple University in 1970, and a BA from Haverford College in 1972. In 1976, he boarded a cargo ship to Japan and lived there for three years; his return to the United States was prompted in part by a quality of light necessary for his paintings. For the last thirty years he has lived, looked, and worked in relative isolation from a modest apartment, situated on the top floor of a historic Beaux Arts style building opposite MacArthur Park.

The following text was written by Marsden Hartley in 1914, on the occassion of his exhibition of new paintings at Alfred Steiglitz’ 291 in New York. This text and format has been appropriated from the original, as cited below, on the occasion of Jack Hoyer's first exhibition at Moskowitz Bayse. The respectful use of this material speaks directly and contextually to the kindred profundity with which the artists' works may be experienced both as intimately personal and generously universal, and is intended to be read as such.

The purpose of this foreword is to state merely the uselessness in art of forewords—of theses. It is to state that in the present exhibition there is nothing in the way of a theory of art of aesthetics or of science to offer. The intention of the pictures separately and collectively is to state a personal conviction— to express a purely personal approach. It has nothing whatsoever to do with the prevailing modes and tendencies—cliques and groups of the day. It has not intellectual motives—only visionary ones. It is not to be expounded. It is not a riddle. It is a discovery; but it does not purport to be the last great discovery in the scientific phase of aesthetics. Its only idea and ideal is life itself, sensations and emotions drawn out of great and simple things. There is an inner substance, an inner content in all things—an interior in an interior, an exterior to an exterior—and there are forms for the expression of them. It is the artist’s business to select forms suitable to his own specialized experience, forms which express naturally the emotions he personally desires to present, leaving conjectures and discussions to take care of themselves. They add nothing to art. Art creates itself out of the spirit substance in all things. There are signs and symbols for ideas of the spirit or soul as there are signs and symbols for ideas of the mind. For the former they are distinct and separate as for the latter they are distinct and separate. A picture is but a given space where things of moment which happen to the painter occur. The essential of a real picture is that the things which occur in it occur to him in his peculiarly personal fashion. It is essential that they occur to him directly from his experience, and not suggested to him by way of prevailing modes. True modes of art are derived from modes of individuals understanding life. The idea of modernity is but a new attachment to things universal— a fresh relationship to the courses of the sun and to the living swing of the earth— a new fire of affection for the living essence present everywhere. The new wonder of the moment. The Creator never loses his sense of wonder— he is continually in the state of simple amaze. The delight which exists in ordinary moments is his ecstasy. In the art of the ordinary there is the sense of devotion. In the art of the specialist there is the sense of habit. It is devotion which is closest to creation. Boehme was a devotional ordinary—Cezanne and Rousseau also. A real visionary believes what he sees. The present exhibition is the work of one who sees—who believes in what is seen—and to whom every picture is as a portrait of that something seen.

Steve Turner is pleased to present Constructive Resistance, a solo exhibition by Lima-based Ishmael Randall-Weeks. Exploring the legacies of modernism and Arte Povera, Randall-Weeks will present a room-sized sculptural installation, Ejercicios Para Un Nuevo Mundo V (Exercises For A New World V) that consists of cranium-size chunks of raw mineral ore (silver, gold and copper) sourced from three mines in the Peruvian Andes. The stones have been drilled and attached to steel-pipe armatures that were bent into forms representing outdoor playground structures common to Latin American housing developments of the 1960s.Two wall works, Paisaje/Repisa I-II (Landscape/Shelf I-II) will also be presented. Each consists of shelves made of copper plating over steel that has been coated with the mineral dust that was left over from the process of creating the sculptural installation. The shelves hold images of bricks found in the Peruvian desert, a copperized mold of a calcified tree that was found in a mine, and some fragments of minerals.Randall-Weeks utilizes architecture as a metaphorical structure to address the impact of man on the landscape. He juxtaposes modernist architecture with structures common in Latin America–favela shacks, adobe and vernacular buildings–and he incorporates aspects of the do-it- yourself economy to find practical solutions when resources are scarce.Born in Cusco, Peru in 1976, Ishmael Randall-Weeks earned a BA in Fine Arts from Bard College, Annandale-on-Hudson (2000) and attended Skowhegan School of Painting and Sculpture (2007). He has had solo exhibitions in at Eleven Rivington, New York (2009 & 2013); Revolver Gallery, Lima (2010 & 2014); Arróniz Arte Contemporáneo, Mexico City (2010 & 2014) and Federica Schiavo Gallery, Rome (2010). His work was included in the 10th Havana Biennial (2009) and the 9th Biennial of Cuenca (2007).

Pablo Rasgado Horizon

Nov 17 - Dec 23, 2016

A solo exhibition by the Mexico City-based Pablo Rasgado which consists of three related bodies

Steve Turner is pleased to present Horizon, a solo exhibition by the Mexico City-based Pablo Rasgado which consists of three related bodies of work.The first consists of numerous minerals that are composed of the same elements that exist in the human body (including carbon, nitrogen, calcium, potassium, sulfur, sodium and magnesium) each presented atop an individual pedestal. The precise amount of each mineral reflects the amount of the related element that exists in an average human body. The second consists of assemblages that Rasgado fashioned from the same amount of each mineral together with pulverized calcium, also in the same amount as it exists in a human skeleton. Finally, there will be a sculptural portrait made of iron that has been synthesized from the blood of the portrait’s subject. This small scale iron sculpture contains the genetic traces from the donor. As such, it relates to both art and anthropology. It is a depiction of the subject and by its chemical content, it describes the subject’s place and time. The portrait will be presented on a pedestal with a glass cube surrounding it, the volume of which corresponds to the volume of the portrait’s subject. In archaeological terms, a horizon is the distinctive type of sediment, artifact, or other cultural trait that is found across a large geographical area. In Horizon, the horizon is both a portrait and a landscape. The artist wishes to acknowledge Daniela Franco, Felipe Bracho Cruz-Gonzales, Dr. Fernando Muñoz and Ing. Rodrigo Gutiérrez Navarro, the scientists with whom he has closely worked to realize Horizon and Synthesis, a related installation that will be presented the Bienal de Cuenca 2016. He would like to also acknowledge the financial support of the Pollock Krasner Grant and Jóvenes Creadores (FONCA) without whom these projects would not have been possible.Pablo Rasgado (born 1984 Zapopan, Jalisco, Mexico) has had solo exhibitions at Steve Turner, Los Angeles (2011, 2012, 2013 & 2015); Arratia Beer, Berlin (2012 & 2014); OMR, Mexico City (2013); and Museo Experimental El Eco, Mexico City (2011). He has also had work in group exhibitions at CAM Raleigh (2014); The Los Angeles County Museum of Art (2013); Ex Magazzini di San Cassian, Art Collateral Events, 55th Venice Biennale (2013); Herzliya Museum of Contemporary Art, Israel (2013); Museo Carrillo Gil, Mexico City (2012); and Museum of Modern Art, Mexico City (2010). His work is owned by public collections including Wattis Foundation, San Francisco; Perez Art Museum, Miami; Jumex Collection, Mexico City; and The Los Angeles County Museum of Art. Horizon is Rasgado’s fifth solo exhibition at Steve Turner.

I’d always heard sound was a wave, but the wave part refers to its frequency not its shape. Ultra sound gets even weirder: the shockwave, or wall of compressed air. This kind of pressure system moves from representation to actual presence, from a sonic to sight engagement. Infra and ultra appearances tell us that visualization should be slightly scary, like letting someone else look behind your eyes.

The partnership of eye and ear is unique. Careful, no silent projection of sound can ever be adequate. The first rule of translating from ear to eye is: if you can’t hear it, be suspicious. The seeming simplicity of perception is shadowed by imperceptible excitations.

Hearing a shadow, using light to strike and shade sound. And then sampling these basic drops of experience, looping it, catching that feeling, what is more than a feeling? Tones made for a specific feeling, anymore abstract and I think we go invisible. Notes appearing, glowing for a brief second then re-submerging. Memory, a glowing image, like a neural tattoo. Other physical relations. Tones heard as words, a re-sound-ing of resonance. This sounds atmospheric, like humidity. Plus it’s electric, and can really heat up a room.

Perhaps the desire can be satisfied with some kind of contact. A brief glimpse of a motion, an image of the sonic atmosphere at work… or it’s a good way to take yourself out of the communication part of things.

—

Lena Daly (b.1986) holds a BFA from the San Francisco Art Institute and a MFA from The University of Southern California. She has participated in solo and group exhibitions at Balice Hertling, Paris, FR; Romer Young Gallery, San Francisco, CA; The New Wright Gallery, Los Angeles, CA and Garten Studio, Berlin, Germany. She will participate in the Film Sector of Art Basel Miami Beach, 2016. Daly currently lives and works in Los Angeles, CA.